Margarita Fernandes in Tchaikovsky Pas de Deux variation

Margarita Fernandes in Tchaikovsky Pas de Deux pdd variation. Music by Pyotr Tchaikovsky, choreography by George Balanchine. Ballet Icons Gala 2026, London Coliseum 15.2.2026.

Margarita Fernandes is a Portuguese ballet dancer currently serving as a Soloist with the Vienna State Ballet (Wiener Staatsballett). She is widely considered one of the most exciting young talents in classical ballet today, having risen to prominence alongside her frequent partner, António Casalinho.

Margarita began her training at the Annarella Sanchez International Conservatory of Ballet and Dance in Portugal, which follows the Cuban methodology. This background often results in dancers with formidable technical strength and “firework-like” athleticism. She joined the Bayerisches Staatsballett (Munich) in 2021 at the exceptionally young age of 16 and promoted to Soloist in late 2024 following a standout performance in La Sylphide. She moved to the Vienna State Ballet for the 2025/2026 season. Margarita is a frequent winner on the competition circuit, including top prizes at the Youth America Grand Prix (YAGP).

Why she is good in Tchaikovsky Pas de Deux

George Balanchine’s Tchaikovsky Pas de Deux is a high-speed, virtuosic “display piece” that requires a specific blend of American speed and classical purity. Fernandes is particularly effective in it for several reasons:

• Technical Precision & Speed: The Cuban training methodology she grew up with emphasizes fast footwork (petite batterie) and powerful turns. This aligns perfectly with Balanchine’s choreography, which demands that the dancer stay “on top” of the music’s brisk tempo.
• Explosive Energy: Reviews of her performances (notably at the 2026 Ballet Icons Gala) highlight her “exuberant” and “flawless” execution. She possesses the stamina to maintain high-energy phrasing throughout the demanding coda.
• Artistic Maturity: Despite her youth, critics often note her ability to communicate “truth” in her movement. She avoids “overdoing” extensions or tricks, maintaining a refined classical line that grounds the technical pyrotechnics of the PDD.
• Partnership: Her long-standing partnership with António Casalinho provides a level of trust and synchronicity that is vital for the risky “fish dives” and synchronized sequences characteristic of this piece.

Photos by Jack Devant © with kind permission of the Ballet Icons Gala, special thanks to Olga Bakaleets